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Is there any reason to import on anything less the 422 HQ if I have the room?
I’m importing lots of footage for a doc I’m working on. If size is not an issue, is there any reason not to import on Pro Res 422 HQ? I don’t plan on having many effects beyond color correction or basic sound. It just seems that importing on a smaller size, like proxy, will mean going through the added step at the end of reimporting on a higher level at that seems a pain in the neck?
I’m not wedded to this idea, and if someone had a good reason to import on a smaller file size, I’d change my mind. Any thoughts?
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8 Replies
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What’s the doc for? (final output etc). What was it shot on? What’s the system you’re editing on?
😀
Tom Morter-Laing
Freelance Editor
Certified Apple Product Proffessional, 2010
http://www.depictproductions.co.ukSony Z5, with Rode NTG2.
iMac 27″ intel i7 2.93GHz, 12GB RAM, ATI HD5750 [1GB GDDR5], 2TB Int. SATA with 2TB External HDD; (FW800), with Elgato Turbo H264HD. -
It was shot on a Panasonic HMC-150. So, it’s AVCHD. I shot at 1920×1090 and am editing on FCP 7 with a Macbook Pro with a 3.06 Ghz processor.
As for what the docs for, ideally I send it to festivals and it gets screened. Obviously, like everyone, I have larger fantasies, but I don’t need to plan around them.
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As has been noted on this forum several times in the past, if you are working at 1080 sizes, you will gain nothing in quality terms by using ProRes HQ over normal ProRes. Both are 10-bit codecs, but the HQ bitrate is ONLY recommended for anyone using 2K frame sizes. This is based on specific technical tests done by forum leaders here (I think it was Gary, might have been Shane).
Good news – you can use 60% of the space and have exactly the same quality. No need to use Proxy etc.
Ben
Edit Out Ltd
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FCP Editor/Trainer/System Consultant
EVS/VT Supervisor for live broadcast
RED camera transfer/post
Independent Director/Producerhttps://www.blackmagic-design.com/casestudies/detail.asp?case=therydercup
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[Noam Osband] “is there any reason not to import on Pro Res 422 HQ? “
Sure there are several reasons…
It would be easy to simply say, “it’s overkill,” but what does that really mean? It means that every render and every export will take longer, and it will all be without any appreciable benefit.
Studies have shown that you’ll get bigger files, but not better files, and and the studies have also shown there’s no difference even after losing several generations. So, why do it?
Oh, and as Ben suggests, don’t use Proxy, just use ProRes 422. There is no compelling reason to do an offline/online, but there are many compelling reasons to avoid it.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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For a camera like that, why not save even more space and capture to Prores 422 LT? Correct me if I’m wrong people, but you need quite a large bitrate to even take advantage of normal prores…. Whilst prores LT is still the same quality for a camera like this (and others such as the Z7 etc)
😀
Tom Morter-Laing
Freelance Editor
Certified Apple Product Proffessional, 2010
http://www.depictproductions.co.ukSony Z5, with Rode NTG2.
iMac 27″ intel i7 2.93GHz, 12GB RAM, ATI HD5750 [1GB GDDR5], 2TB Int. SATA with 2TB External HDD; (FW800), with Elgato Turbo H264HD. -
Thomas,
Have you actually tried LT?
I have, and it was very unsatisfactory, loosing a very noticeable amount of color information that made grading more difficult and much less aesthetically pleasing.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Any HD = ProRes 422
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Ben Holmes: “HQ bitrate is ONLY recommended for anyone using 2K frame sizes. This is based on specific technical tests done by forum leaders here (I think it was Gary, might have been Shane).”
This seems to be the biggest Chinese Whisper on the Cow.
Gary wrote an article on ProRes saying that he noticed decoding HQ was more CPU-taxing when the source files were HDV or DVCProHD. This had nothing to do with resolution but Gary’s suggestion of only using HQ for 2K and above lead some to think it was. The 2K bit seems to be what people latched on to as the message spread.
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